Music Supervisor Profile // Ron Lewis

The art of music supervision is at once creative and precise. Each project demands an individualized and personal approach. With such a human element behind every music/picture collaboration, it's only important that we introduce you to our wonderful team of music supervisors, starting with the human music encyclopedia Ron Lewis.

We asked Mr. Lewis about his philosophy and favorite moments in music supervision. He also gives insight into his recent collaboration with Travel Oregon on the 'Seven Wonders of Oregon' project.

1. What is your philosophy of music supervision?

"Ideally to place music that creates a compelling impression against picture. The intangible, evocative sensation that occurs when two elements are paired to produce a larger, more profound impact. That is the ideal. It doesn't always happen that way."

2. What does a successful music + film collaboration look/sound like?

"When it works, you'll know it. There's no single key that holds the formula to a successful music/picture pairing. It's a complex interplay of too many variables to generalize."

"'Freaks and Geeks' has always been a music supervision high water mark to me as far as television goes. The nuance with which popular music was used in the series has yet to be eclipsed. One of the most heartbreaking scenes is from an episode from the perspective of 'Bill,' a perennial underdog. We are allowed a rare window into his 'latchkey' world. This particular episode was predomiminantly if not entirely soundtracked by the music of The Who. This scene, which used the track "I'm One" from 'Quadrophenia', subtly articulates the isolation, disappointment and resignation of suburban life as Bill resorts to the simple comforts of American cheese and Gary Shandling on TV. As the song kicks into high gear, it's hard to tell if Bill is laughing or crying."

3. What went into the Travel Oregon Project? How did it come about and who did you work with to make it happen?

"[...] Weiden+Kennedy put together a short list of Oregon-based artists as potential contenders to score the campaign, which consisted of seven spots corresponding to the 'Seven Wonders of Oregon' and an eighth "anthem" spot showcasing them all. Fruit Bats ended up shaking out as the best choice as music lent itself to the organic wanderlust vibe of the campaign. It just happens that Eric D. Johnson (of the Fruit Bats) composes film scores, so it seemed like a pretty good fit. The process was essentially myself producing and Eric composing based on the creative direction established by the folks at Weiden+Kennedy."